"I'm not yet finished with this book, but it's already brought tremendous clarity to my own likes and dislikes in music, explaining why I find some classical music (stuff I'm "supposed to like" because it's "great art") cold and unapproachable. As a musician myself I know how hard it is to explain music and its impact in an objective way, which this author succeeds at well. I was surprised to find that I am already applying Mr. Johnson's explanation to theater as well as music. It helped me understand why I liked a play I saw recently, because like a good musical work it untangles and integrates a complex set of emotions. (The play happened to be Ibsen's Lady From the Sea). I am looking forward to further insights as I go deeper into the book, and I think this will bear many re-readings. I'm also looking forward to applying his method to the music I play and listen to, and seeing how it applies to other art forms. I enjoyed Mr. Johnson's other work, Dancing with the Muses, as well. It is completely different in subject matter, but also valuable."

We are also having a vigorous discussion of catharsis in music, as well as the issue of generational character and why people tend to think that the music coming out during their teenage years was the one and only true, good music--such that everything else is a fall from that original height. Yet everyone thinks that of their own teenage music. This is on the Facebook discussion group Philosophy of Music and Emotion.